![.. my own paintings of that period (1916 – 1919) remain pure still-life compositions and never suggest any metaphysical, surrealist, psychological, or literary considerations at all [reacting on similarities with the art of Carrà, and de Chirico, suggested by the interviewer]. My milliners' dummies, for instance, are objects like others and have not been selected to suggest symbolic representations of human beings of legendary or mythological characters. The only titles that I chose for these paintings were conventional, like 'Still Life, Flowers or Landscape', without any implications of strangeness of an unreal world. (Giorgio Morandi)](https://cdn.quotesdtb.com/img/quotes_images_webp/94/giorgio-morandi-art-chose-955694.webp)
.. my own paintings of that period (1916 – 1919) remain pure still-life compositions and never suggest any metaphysical, surrealist, psychological, or literary considerations at all [reacting on similarities with the art of Carrà, and de Chirico, suggested by the interviewer]. My milliners' dummies, for instance, are objects like others and have not been selected to suggest symbolic representations of human beings of legendary or mythological characters. The only titles that I chose for these paintings were conventional, like 'Still Life, Flowers or Landscape', without any implications of strangeness of an unreal world.
Giorgio MorandiRelated topics
art chose conventional human instance interviewer legendary pure remain strangeness others surrealist representationsRelated quotes
I would suggest... the idea of a work which should have for its object the analytic examination of the development of our intellectual faculties for each age. Now, I have aimed to present, in the work here reproduced, only an essay, only a particular example, of such an analysis, "which tends to show that the maximum of energy of the passions occurs about the age of twenty-five." The minimum is not then determined; and even when it shall be, by a sufficient number of observations, one will no more be able to apply it to any given individual in particular, than one could make use of a table of mortality to determine the period of his decease.
Adolphe Quetelet
Among the many senses that modern painters have lost, we must number the sense of architecture. The edifice accompanying the human figure, whether alone or in a group, whether in a scene from life or in an historical drama, was a great concern of the ancients. They applied themselves to it with loving and severe spirit, studying and perfecting the laws of perspective. A landscape enclosed in the arch of a portico or in the square or rectangle of a window acquires a greater metaphysical value, because it is solidified and isolated from the surrounding space. Architecture completes nature.
Giorgio de Chirico
Hegel ... destroyed the illusion of the subject's being-in-itself and showed that the subject is itself an aspect of social objectivity. ... However, ... we must ask this question: is this objectivity which we have shown to be a necessary condition and which subsumes abstract subjectivity in fact the higher factor? Does it not rather remain precisely what Hegel reproached it with being in his youth, namely pure externality, the coercive collective? Does not the retreat to this supposedly higher authority signify the regression of the subject, which had earlier won its freedom only with the greatest efforts, with infinite pains?
Theodor Adorno
We talk a great deal about patriotism. What do we mean by patriotism in the context of our times? I venture to suggest that what we mean is a sense of national responsibility which will enable America to remain master of her power - to walk with it in serenity and wisdom, with self-respect and the respect of all mankind; a patriotism that puts country ahead of self; a patriotism which is not short, frenzied outbursts of emotion, but the tranquil and steady dedication of a lifetime. The dedication of a lifetime - these are words that are easy to utter, but this is a mighty assignment. For it is often easier to fight for principles than to live up to them.
Adlai Stevenson II
What I liked was Thatcherism's Bolshevik aspect, which was to shake up the whole of Britain quite fundamentally, and if you read what I wrote in those years I think you might agree that in taking the view that I did then - that this was necessary and desirable - I never subscribed to the main delusion of the Thatcherites, which was that you could change everything and everything would remain the same. If what you wanted was a very anarchic, globalised, polyglot, mixed-up society in which most of the structures which had somehow been renewed from the Edwardian period to the Sixties were destroyed, then Thatcherism was what would do the job.
John N. Gray